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Adriana is a young girl fled from the province of Pistoia, groped to build a richer life and moving to Rome.

His reckless and anarchic youthful curiosity mixed with a sort of imponderable passive acceptance of what exists, the urge to carry out lazily trades different from a small hair salon manicure in the form of anonymous suburbs and dreaming of a cinema, pushing it to live and love and superficial relationships with men seeming distant and remote from his mischievous and often unmanageable desire for research and experimentation.

Perhaps it is the lightness of Adriana inconsistent to prevent her from living stable and constructive relations, to address specifically, beyond abstract fantasies of his youth dictated by its radical childish, mature relationships in touch with the needs of the present. For

Ettore Scola (co-writer of the film along with Maccari and at the same Pietrangeli), the target should not be focused on the controversial figure inconsistent Adriana and irresponsible in its chronic inability to determine their own destiny to the end, to vegetate in a muffled world of non-existent and without illusions and vain hopes, but vice versa on the men around her and desire.

This shift is important because it brings out the polyphony of the subjects in the field, the choral narrative is broken down into seemingly secondary characters and tangential, but in reality crucial to the development of clear interpretation of the entire film.

So are the very men who wish and circuit Adriana, expressing their "spineless", anonymous and empty elements of a gear, too silent and overpowering, that kills any momentum and level of quality that infects every progressive and momentum for change. Examples of a society governed on the appearance of clichés about how the formalism masks evergreen habit.

In this perspective the male characters (who can not - nor want - to understand the complex problematic of Adriana), to give a further important cornerstone of the whole idea by Pietrangeli, represent the old man who does violence to the new , the past violence with insistent knocking at the doors of the future, but at the same time show, so now, the inner contradiction. So

Pietrangeli's gaze on the figure of a volatile and evanescent-town girl in search of fortune turns as look at a company that is changing. Then, as now, the social causes and re-define the role of actors in human history.

Therefore it is that Adriana is not able to relate specifically to the men around him, to what surrounds it, but it is exactly the contrary.

But the fact remains that the skill, often disarming, Adriana in passing from one lover to another as from one job to another, mechanically reproducing a condition inexorably, without any hope or way out, thus letting the current drag of the events giving rise to a human dimension is naively indifferent to the drama of life that the choice of a premature death. You could say a

infantilism as stasis.

to throw in the world of fashion and film, taking part as an extra at a party organized to deliver a prize to a great actor (which hovers in that grotesque cynicism and melancholy of intellectuals in search of an identity failed terrace of La Scola) Adriana finally discovers the tragic duality of life, to find himself in an instant and the instant after the altar into the abyss of anonymity and derision.

And it is living a total, absolute in some ways, that is free from constraints and specific responsibilities for social and annihilating it, hybrid and indecipherable, pushing Adriana, after a wild night of drinking to dance, to suicide, which is also not planned or calculated, but this right from the start in 'intention of the young. As if he did what he does with the deep hope of death, a purpose that gives meaning to their existence and identity.

This is a final "open" in this sense fully democratic (which already caused controversies and debates at the time), in which anyone can find the figure of a story are not easy to declination. We

once again overlooked, in the cinema of Pietrangeli, a woman who divorces his dreams by a society that rejects and rejects it as an element of disorder and innovation, the desire to be - all the way - what it is without compromises.

Death terminating in a single experience of the young protagonist and the end of the film (as a gimmick that will be resumed after about ten years - only to some extent - by Michelangelo Antonioni in Profession reporter) is a semiotic device capable of making sense, beyond the simple allegory end = failure = death. The potency of framing

significant final vertical camera that reaches the asphalt soil affects not only the human story of Adriana, but also and more generally the performance of a company, still linked to the structures of the past, which is projected into the unknown future development.

is perhaps in the extreme and courageous final act of suicide that the protagonist frees himself from his disability and society, referring to it those responsibilities that surface (the company) had failed in respect of preparing the new.

I know her well by Antonio Pietrangeli (1965), featuring: Stefania Sandrelli, Nino Manfredi, Ugo Tognazzi, Franco Fabrizi, Turi Ferro, Franco Nero, Jean-Claude Brialy, Mario Adorf, Enrico Maria Salerno, Solvi Stubing. Photograph: Armando Nannuzzi. Editor: Franco Fraticelli. Music: Piero Piccioni.